DMG Newsletter for January 19th, 2018

Cold Rain and Snow, When Will This Winter End?Are Our Winters Getting Worse, Is this just a Trend?The subways suck more and more Every DayWhile NJ Transit is Always filled with delays!Tired of Complaining, Will Things Ever Change?A Toast to Creative Music, the Medicine of MortalsLet’s Check Out This Week’s List of Sonic Delights from:

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy

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JULIE TIPPETTS / MARK WASTELL - Unraveling the Waterfall (Confront CORE 02; UK) Featuring Julie Tippetts voice, hand drums, bells, bowls, thumb piano, Balinese mini xylophone, etc and Mark Wastell on tam-tam, shruti box, temple bells, bowls & chimes. In the mid-to-late sixties, Julie Driscoll, was at the center of the British pop/mod scene, a ravishing wide-eyed look with an incredible voice to match. Ms. Driscoll sang lead with Brian Auger & the Trinity, a great jazz/rock/folk/blues pop sensation that had several hits up until 1970 when Ms. Driscoll waved goodbye, met and soon married Keith Tippett, one of the greatest of all British (free/jazz) pianists. Even before meeting Mr. Tippett, Julie was experimenting with the seminal Spontaneous Music Ensemble, using her voice to explore new worlds. In the early seventies, Ms. Tippetts recorded two wonderful jazz/rock records, ’1969’ and ’Sunset Glow’. Ms. Tippetts has been an integral part of Keith’s bands like Ovary Lodge, Centipede and Tapestry, they continue to work together on occasion. Over the past decade Ms. Tippetts has been collaborating with Martin Archer, saxist & multi-instrumentalist with a handful of fine CD’s released. Considering that Ms. Tippetts has not performed in the US since touring with Brain Auger in the late sixties, I had the good fortune to hear her at FIMAV (Victo Festival) on two occasions with Keith’s big band and with Martin Archer’s project (just a couple of years ago). Her recordings and live performances are immensely rare, so when I heard that she was playing at Cafe OTO in January of 2017, exactly one year ago today (1/17/2018), I was pleased that Mark Wastell of Confront Recordings recorded and released this disc. ‘Unraveling the Waterfall’ is the title of this disc and it seems most appropriate since what we here is most organic, like a waterfall flowing over us. Ms. Tippett’s splendid voice has been sounded better or been captured so well. Sensuous, warm, enchanting. Ultra subtle percussion carefully flows around her magical voice: a gong, rubbed or tapped cymbals, brushes, hums, drones, softly reverberating. Slowly, the tension and resonating frequencies increase, the sound expanding. What I like most about this is that the voice and other instruments are as one, blended together into a rich stream, the same volume or presence. I remained transfixed for the entirety of this disc. The shruti box, which most folks use for meditational, sounds like a harmonium, wheezing away like the troubling breathing of mankind trying to get some sleep after a long day of exploration. This disc provides a perfect way to start our new year off, like a solemn prayer. - Bruce Lee Gallanter, DMG CD $14

SATOKO FUJII - Solo (Libra 201;046; Japan) Satoko Fujii will turn 60 this year, which is a big deal in Japan. To her celebrate this momentous occasion, the Libra label will release 1 CD every month for the entire year! Most ambitious! We just got the promo for the first one of the series in on Tuesday so I won;t have time to review it yet. Our package has already been shipped from Japan and since the mail is very slow since Christmas, we don’t know exactly when it will arrive. Hopefully soon. Review next week.- BLGCD $16 (pre-order)

NICK MILLEVOI’S DESERTION TRIO With JAMIE SAFT / JOHNNY DEBLASE / KEVIN SHEA ASHLEY TINI - Midtown Tilt (Shhpuma 036; Portugal) Featuring Nick Millevoi on guitar, Johnny Deblase on electric bass, Kevin Shea on drums plus Jamie Saft on organ and Ashley Tini on vibes. This just appeared as we are going to press so I will have to review it next week. Philly guitarist Nick Millevoi is consistently on fire, whipping up a storm of John Cippolina (from Quicksilver) meets Tom Verlaine (from Television) like Fender guitar heroics! The Desertion Trio is more like a psych/jam band (tight & rambunctious) with some soulful organ by the ever-inspired Jamie Saft! More blurbage soon, but grab this now! - BLGCD $14

Two Challenging New Discs from the Devoted Folks at the Relative Pitch Label:

BRANDON LOPEZ / MATT NELSON / ANDRIA NICODEMOU / GERALD CLEAVER - The Industry of Entropy (Relative Pitch 1063; USA) Featuring Matt Nelson on tenor sax, Andria Nicodemou on vibes & glockenspiel, Brandon Lopez on contrabass and Gerald Cleaver on drums. The Downtown Scene has been evolving for some forty years now (beginning in the late seventies) and has continually involved new musicians who move here or visit for different lengths of time. Since DMG moved to Chinatown in 2009, nearly a decade ago, there has been several underground scenes coalescing with younger and older musicians experimenting together. Places like The Stone (the old & the new one), I-Beam, Jazz Gallery, Cornelia St and the DMG weekly in-store series provide a home many musicians to experiment in. The Relative Pitch label has selectively worked with many of these lesser known but no less worthy musicians, releasing discs which capture the current scene as it continues to evolve. Each member of this quartet comes from varied backgrounds, so that even I was surprised by the line-up: Matt Nelson (from Battle Trance), Andria Nicodemou (Leap of Faith, Boston-based), Brandon Lopez (for Nate Wooley & Ivo Perelman) and Gerald Cleaver (ever in demand & working with William Parker, Roscoe Mitchell & Joe Morris). Certainly this looks like an odd line-up on paper but it works. Starting with “Not”, this quartet has a calm yet frenzied chamber-like quality. Gerald Cleaver’s ever inventive drums are at the center of the storm which seems to flow quickly, all four members burning tightly together, weaving several strands, pulsating organically. On “Now” things slow down for a more spacious resonance, the careful rustling slowly increasing into a more fragmented, somewhat twisted tapestry. Ms. Nicodemou has only been on the scene for a few years but already has a reputation for playing spirited free vibes in a her own way. The interplay between her expressive vibes and the rest of the quartet is consistently engaging, if you listen closely you can hear her inserting some fascinating thematic lines in unexpected places. Tenor saxist, Matt Nelson, another up & coming young reeds wiz is also in fine form, pushing things over the top at times and also creating some strong textural sounds which seems to alter the flow. For those who love free music at its best and most focused, this is a real gem. Truly OUTstanding! - Bruce Lee Gallanter, DMG CD $14

BEN HALL'S RACEHORSE NAMES With JOE MORRIS / JOHN DIERKER / et al - New Thing Called Breathing (Relative Pitch 1062; USA) Featuring Ben Hall on drum set & percussion, Joe Morris on electric guitar, John Dierker on reeds, Ronne Zawadi on percussion, Mick Dobday on electric piano & organ, Anthony Levin Decanini on electronics and Mike Khoury on viola & violin. Percussionist Ben Hall has worked with an eclectic cast of players: Nate Wooley, Don Dietrich (from Borbetomagus) and Joe Morris. Mr. Hall also runs the hard-tofind Broken Research label. The personnel on this disc is certainly eclectic and includes some well known musicians like Joe Morris and a number of lesser known players: saxist John Dierker, who hails from Baltimore and has worked with Gordon Beeferman, Jeff Arnal and Gerald Cleaver. The only other name here that I recognized is from Detroit area string player Mike Khoury, who has worked with Faruq Z Bey, Joe Morris and Graveyards. Considering that there are seven musicians found here and the music does sound mostly uncluttered. There is a rather tight focus like controlled chaos or directed energy. Ben Hall’s drumming is most at the center of the storm, providing a strong, swirling undercurrent, keeping the rest of the band in line no matter how free they tend to go at times. Mr. Khoury provides a long solo interlude for detuned strings which keeps us off balance. Mr. Dobday plays some old-sounding unadorned electric piano and organ, something I haven’t heard in a long while and which adds to the more subtle charm. On the second long piece, there is a stong balance of quiet calm with controlled frenzy that I find most enchanting. During a later long piece, there was a long bent note viola and acoustic guitar duo in which I couldn’t tell what exactly I was hearing: Is that a ghost/voice or perhaps a bent reed or string sound!?!? Hmmmm. Over the past decade, I’ve caught live or heard on record guitarist Joe Morris playing with a long list of under-recognized improvisers, who he continually seeks out. At times it sounds as if there are several trios moving around one another simultaneously. It just depends on where you focus your attention since there are several layers of activity going on at once. At some 70 minutes long, there is much to absorb here but I must admit that the more closely I listened to this disc, the more interesting things became. - Bruce Lee Gallanter, DMG CD $14

SHAKERS N’ BAKERS With MARY LaROSE / JEFF LEDERER / JAMIE SAFT / CHRIS LIGHTCAP / ALLISON MILLER STEVE BERNSTEIN / KIRK KNUFFKE / JOE FIEDLER / LISA PARROTT - Heart Love: Play the Songs of Albert Ayler and Mary Maria Parks (Little i Music 107; USA) This the third disc by Shakers N’ Bakers whose members are: Jeff Lederer on tenor & soprano sax, flute & arrangements, Mary LaRose & Miles Griffith on vocals, Jamie Saft on keyboards, Chris Lightcap on bass and Allison Miller on drums with guests: Steve Bernstein on trumpets, Kirk Knuffke on cornet, Joe Fiedler on trombone and Lisa Parrott on bari sax. After a half dozen records of playing his own version of “free jazz”, Albert Ayler recorded his two studio records, ’New Grass’ and ‘Music is the Healing Force of the Universe’, which were his version of soul/spiritual music. Those records divided his audience, some folks dug them and some did not. For this disc, Mr. Lederer does a tribute to those albums, recreating them in his own way, with an all-star Downtown cast and including a few traditional & spiritual songs, something that Mr. Ayler also did on occasion. I haven’t listened to this Ayler records in many year but I did have mixed feeling about them when I did hear them. “Message from Mother Ann” kicks things off with some feisty (preacher-like) spoken word from both vocalists, Ms. LaRose and Mr. Griffith, odd yet somehow charming. “Everybody’s Movin’” sounds like a soul/rocker that Otis Redding might have covered back in the day. Fun, funky and feelin’ groovy with some infectious squawking’ & squealing sax from Mr. Lederer. “Oh Love of Life” has that enchanting reggae groove with soulful vocals by Mary LaRose and great slide trumpet from the my man Steve Bernstein (Sex Mob & MTO). Mr. Lederer obviously has a deep affection for Mr. Ayler’s sax playing and does a fine job playing this music and soloing with his heart on his sleeve, bending and twisting notes, stirring up the feelings of audience members the way a preacher might do when singing or sermonizing in a church service. Ms. LaRose, who has several discs out on this label and often works with Mr. Lederer, sounds like a great choice for this disc, her voice is coy, soulful and righteous in ample amounts. After listening to several of her own records recently, I realized that she is one Downtown’s best keep secrets. Another highlight is the ever inventive keyboard playing of Jamie Saft. From cheesy organ to sly electric harpsichord to greasy organ, Mr. Saft knows when to add his licks to the overall heartfelt tribute. There are a few silly moments that did make me giggle, like the soul chorus singing “Sock it to Me” over & over on “New Generation”. The title track seems like a fine way to bring things to a close, there is a thin line between the silliness and sincerity which swirls through this disc and makes it taste like the sort of sweet & sour medicine we need to help get through these demanding times. Yes, I can feel the love inside. - Bruce Lee Gallanter, DMG CD $13

HONEY EAR TRIO With JEFF LEDERER / RENE HART / ALLISON MILLER KIRK KNUFFKE - Swivel (Little i Music 106; USA) “The opening track of Allison Miller's new Honey Ear Trio recording, "Arby," had me singing the lyrics to "Heavy Metal Drummer," the 2002 Wilco hit song ..."She fell in love with the drummer/Another and another/She fell in love/I miss the innocence I've known/Playing KISS covers, beautiful and stoned." That connection is made from the heavy, maybe better yet, HEAVY entrance the Honey Ear Trio makes with track one. Miller, saxophonist Jeff Lederer (Matt Wilson Quartet, Brooklyn Blowhards) and bassist plus electronics wizard Rene Hart come loaded for bear. Not the same Otis Was a Polar Bear (The Royal Potato Family, 2016), the title of Miller's Boom Tic Boom recording. This time they come with their shock and awe approach. Once the cobwebs have been blown out, the trio gets down to the wonder component of awe, playing the most admirable music. Just as their debut, Steampunk Serenade (Foxhaven, 2011) evidenced, the experimental nature of a modern jazz trio need not eschew its gracefulness. "Stanley's Package," a composition by Lederer, is a great example. It is easy to imagine this piece being covered by Sonny Rollins circa his Way Out West (Contemporary, 1957) years. It swings with a faux naiveté that camouflages the piece's sophistication. Lederer, who can holler an Albert Ayler chant or whisper like Lester Young, is well suited to Miller's Honey Ear philosophy. The trio's take on Thelonious Monk's "Evidence" begins as a marching band cover, with Miller parading her kick drum, before the trio messes with time. Indeed, fiddling with Monk's time is like working in the fourth dimension. Both Hart and Miller exhibit their wares here. The music reaches a bit higher, too, with the guest appearance of cornetist Kirk Knuffke on three tracks. "Speak Eddie" is a twisted dish of bebop in which Lederer trades licks with Knuffke before Hart plays from his Jimmy Garrison songbook and Miller dusts off her drum kit with brushes, freezing time once again. "Lullaby" by Miller is as inscribed, the music you want to hear before dreaming. Its deliberately paced melody is wrapped in abstracted daydreams and light.” - Mark Corroto, AAJCD $13

AARON NOVIK With MICHAEL COLEMAN / LISA MEZZACAPPA / JORDAN GLENN / CHES SMITH / WILLIE WINANT / et al - Frowny Frown (Self-Produced; USA) Featuring Aaron Novik on clarinets, compositions & comic book design & artwork, Michael Coleman on keyboards, Kasey Knudsen on alto sax, Lisa Mezzacappa on bass and Jordan Glenn, Ches Smith & Willie Winant on drums & percussion plus Mark Clifford, Dina Maccabee, Marie Abe & Jamie Moore. Former bay area clarinetist, Aaron Novik, never ceases to surprise me with a variety of projects he is involved with. After a fine CD on Tzadik from a number of years back, Mr. Novik had three discs on Evander as well as another two on Porto Franco, both relatively obscure west coast labels. Since moving to NY a couple of year ago, Novik has been collaborating with Jeremiah Cymerman, Guillermo Gregorio, Josh Sinton and Thomas Heberer. A couple of weeks ago, Mr. Novik left us with this limited edition LP only release which include a large (65 page) comic book, which he illustrated and designed. The comic book reminds of those dreams which seem somewhat psychedelic and remain rather confusing yet still make some odd sense. One of the main characters is a thaumatist which refers to “a possible fifth lens of game making that occupies the centre ground between tetrism, narrativism, simulationism and behaviourism, and combines the best of all of them with the x-factor of vision.” Hmmmm. The music has a charming, quietly majestic, almost prog-like veneer. Quaint piano, austere, dreamy horns, layers of rich, yet somber percussion. The music has a most enchanting chamber-like quality that recalls the Penguin Cafe Orchestra at times. On “Hanks Piperaceous” (one of the characters in the comic book, there is some warm, most endearing writing for the accordion, clarinet(s), alto sax, cello (great solo near the end of the first side) and percussion. Side 2 starts with “The Voice” which reminds me a fox hunting scene from an old movie. A great deal of time, thought and preparation went into making this album, the music is consistently elegant and unlike anything I’ve heard in a long while. The comic book is actually quite a bit more enigmatic and will take some time to fully absorb. Let’s give Mr. Novik a hand since he has come up with what looks to be one of those great underground treasures that might or might not get the recognition it so much truly deserves. - Bruce Lee Gallanter, DMG LP Only $25 [LTD Edition of 500, numbered with 65 page comic book]

Two New Ones from The Ex’s Label Terp (in stock early next week)

AB BAARS & TERRIE EX - Shifting Sands (Terp 026; Netherlands) "After a sixteen year recording hiatus, the unusual pair of Ab Baars & Terrie Ex (The Ex) are finally together again in the studio. Terrie, wicked grin, tilting his head like a dog hearing an instruction to back off, jumps straight out of a favorite children's book. The Menace from Wormer. And Ab, stepping right out of Fitzgerald's Jazz Age. Nothing if not a gentleman: impeccably dressed, soft-spoken, well-mannered. An unlikely match if ever there was one. And yet..." - Guy PetersCD $17 / LP $21

FENDIKA - Birabiro (Terp 027; Netherlands) "Melaku Belay of Fendika runs an amazing club in Addis Ababa. Over the years the Ex/Terp has spent many nights there and saw a lot of incredible music and dance -- an Azmari-bet new style, with new ways of running the place and taking care of the artists, but still keeping all focus on the creativity and social function of a cultural bar. Melaku likes to call the music 'Addis Tradition,' which means 'new tradition.' One can feel the strong, traditional Ethiopian tunes, deeply rooted in the culture of many regions, but also sense a new generation of great dancers and musicians. Fendika are extremely talented and groundbreaking in their technique and approach. Since being discovered, they have been over to Europe, playing several tours and Ex Festivals, being on the road with the Ex and even playing a set together! Terp is happy to make this great acoustic recording and release it, with the input of many. Andy Moor's great photos, Emma Fischer's artwork and Arnold de Boer's mixing and fixing in particular."CD $17 / LP $21

* DOGWOOD With NICO SOFFIATO / ZACH SWENSON - Hecate’s Hounds (Nusica Org 12; Italy) Dogwood features Nico Soffiato on electric guitar and Zach Swanson on double bass. This is the third disc I’ve gotten from Italian guitarist Nico Soffiato, each one was released on an obscure Italian label: Qt CD on NBN (01/2014) and another Qt CD on Setola Di Maiale (10/14). Nearly three years have gone by and Mr. Soffiato returned to DMG to drop us off a new duo offering with Zach Swanson on bass. Mr. Sogffiato is of course on yet another obscure Italian label called Nusica.Org, which has a dozen limited edition releases and is again documenting an emerging scene. Several of these discs feature an Italian quartet led by Nicola Fazzini (alto sax) or Allesandro Fedrigo (acoustic bass guitar). There a couple of familiar names amongst the dozen discs Nico left us with: Bruce Ditmas (playing the music of Carla Bley) and Amir ElSaffar. The Dogwood duo wrote all of the pieces here and are split nearly in half. “Causes” opens this disc with an exquisite, restrained, lovely sort of ballad, rather Jim Hall-like in its gracefulness. On “It Must Have Been the Wind”, the duo play as if they were playing an old, beloved standard, soft, warm and most charming. “Aokigahara” is both haunting and breathtakingly lovely as well as stripped down to just its bare essentials. There are a couple of pieces that are so subtle that I had to stretch my attention the cover the space between the notes. Things do pick up elsewhere and the duo sounds as if are breaking into a more relaxed gallup, as elegant as ever. What stands out about guitarist Nico Soffiato is that he uses little or no devices on his guitar, hence it has a pure, delightful, gentle tone that is quietly hypnotic. It is refreshing to hear a record that embraces a more quaint, pure, gliding on the wind, sort-of vibe. Unlike anything I’ve heard in quite a while. - Bruce Lee Gallanter, DMG CD $10

* Dogwood will play here at DMG on Sunday, March 11th at 8pm

SICK BOSS With COLE SCHMIDT / JAMES MEGER / DAN GAUCHER JP CARTER / TONY WILSON / PEGGY LEE / et al - Sick Boss (Drip Audio 1324; Canada) Vancouver based band Sick Boss feature an eclectic bunch: Cole Schmidt on guitar, James Meger on bass, Dan Gaucher on drums, Peggy Lee on cello, JP Carter on trumpet, Tyson Naylor on synth & other keyboards, Jeremy Page & Ted Crosby on clarinets, Tony Wilson on guitar, Malcolm Jack on computer and Debra-Jean Creelman & Molly Guldemond on voices. The great Drip Audio label is run by violinist extraordinare Jesse Zubot who has been on never-tour with Tanya Tagaq for way too long. His great label, Drip Audio, has nearly 30 releases, well worth checking out. Hence the label releases discs on rare occasion and it is often that a member of a band contacts us direct. Guitarist Cole Schmidt dropped off these discs and it turns out that he was last seen or heard with Pugs & Crows with Tony Wilson. We listed a 2 CD set from this combination of players which garnered rave reviews two years ago but who knows if we still have copies left. Besides Mr. Schmidt, Sick Boss (jeez, what a name?!?), features drummer Dan Gaucher from Fond of Tigers, one of many great bands/projects on Drip Audio. The other names I know well are: cellist Peggy Lee (check out any of her discs as a leader), guitarist Tony Wilson (check out any of his discs as a leader) and trumpeter JP Carter (a dozen discs on Songlines or Drip Audio worth exploring). When the first tune began, I was shocked to hear somber psych sail into groovy roots rock and then moving into proggish, slamming, jazz/rock/space roller coaster ride. It sounds as if there two bands playing at once but not in a Beefheartian, jagged way. “Bad Buddhist” has a rather Canterbury-esque whimsy, rather Caravan-like with those sublime, swirling horns, majestic keyboards and crafty, folk/rock guitars. There are a few quiet, relaxed sections which add a hypnotic, pause in the action. We know know where things will end up next: On “Bug Ya! (Pt 1)”, they get into a oddly funky space boogie which is fueled by an over-intense drum machine, but some sunny, kind of soothing female vocals. “Mona” as a great, dreamy opening with swirling strings, quietly noisy guitar and cool, slightly sinister organ in the distance. Peggy Lee’s cello is often multiplied, her distinctive sound resounding just right. “Bug Ya! [Pt 2]” space rocks righteously but I can’t compare them to anyone else without doing them an unjust pigeonhole. Strangely enough, the disc concludes with an enchanting sort of lullaby featuring the charming voice of Debra-Jean Creelman. I could see Sick Boss opening for the Pornographers, another Vancouver-based relatively popular roots/rock band that I recall digging at one point possibly a decade ago. Another gem and it only January of 2018. - Bruce Lee Gallanter, DMG CD $14

MICHAEL WINTER - Lower Limit (New World Records 80798; USA) “Featuring: Elliot Simpson, Chaz Underriner, Cristián Alvear, Vicente Araya, guitars; Brian Parks, virginal; Colleen Potter Thorburn, harp. The immersive sonic textures that characterize Michael Winter’s (b. 1980) music are crafted from comprehensive lists of data, with each composition encompassing a musical question that is addressed algorithmically. A performance lasts for as long as it takes to “answer” the question, expressing all results as efficiently as possible. Winter leaves room for unanticipated results by keeping things open, notably in the instrumentation, which, rather than specifying instruments, tends to designate certain properties such as “plucked strings,” or “sustaining instruments.” In this way, each performance offers a different manifestation of the same underlying structure. For Winter, beauty is the experience of something new, and to experience something new is to evolve. Even though he allows for a great many possibilities, the recordings here evince a highly tuned aesthetic filter. All of the five works included in this collection use plucked string instruments (guitar, virginal, and harp) and pure tones (ebowed guitar and pure tones). Together, they form a metacomposition, bound together by two versions of necklaces. The titles describe the processes that form each work: necklaces represents picking patterns with aperiodic necklaces (strings of data with specific constraints of rotational and symbolic permutation), and in mass and band a constraint akin to a band pass filter is applied to an Ockeghem mass. Likewise, in chorale and finely tuned resonators, instruments resonate the harmonics of a chorale, and quieting rooms makes use of phase cancellation to quiet a room. The title of the piece lower limit refers to Winter’s intention to use the smallest amount of code possible—in other words, to find the lower limit for programming a composition. This idea, in fact, applies to all of the pieces here, since all are concerned with how to express ideas in a maximally efficient way.”CD $15

Back in stock:

JULIUS HEMPHILL - Blue Boye (Screwgun 70008; USA) Julius Hemphill, alto and soprano saxophones, flute, percussion. Recorded January 1977 at Larchmont, NY Some music snarls. Some music simmers. Julius Hemphill's music was often eloquent enough to do both at once. Manipulating elemental blues motifs into intricate webs of sound, the saxophonist-composer caught the attention of almost everyone devoted to jazz during the last quarter of the century. Through his successes with the mighty World Saxophone Quartet and his own sextet Hemphill transcended fringe status before dying in 1995. And both the sum of his work and the power of his legacy make it clear: he was a determined progressive, one of the most fertile writers jazz has produced. This long-out-of-print solo recording Blue Boye was originally released in 1977. It's one of the most enchanting discs in Hemphill's considerable canon. - BLG "Recorded in 1977 in a cold basement studio in New York, the late Julius Hemphill self-released Blue Boye on his own Mbari label. Given that there was almost no independent distribution that actually paid people in those days, Hemphill's record, a beautifully packaged double album, sank without a trace. It seems that after his death, the original tapes of the album also disappeared. Enter Tim Berne, saxophonist, composer, bandleader, independent label boss, and art terrorist -- as well as a former student of Hemphill's. Out of devotion and an impeccable sense of knowing what to offer people, Berne has had the CD remastered from well-preserved vinyl copies, and listeners thus have this double CD. All eight tracks are meditations on various formal musical structures, and, as Hemphill claims in his manifesto-like liner notes, autobiographical. There is the chamber serialism of "Countryside," an impressionistic, textured travel through the inner workings of the flute and soprano saxophone as well as a gorgeous multi-tracked alto in the lower register. On "Hotend," Hemphill's multi-tracked saxophones are more expressionistic, using one part of the blues, one part personal experience, and one part the musical instinct of being a great balladeer -- in Archie Shepp's definition of the word. The playfulness of "OK Rubberband," with its funky backdrop and handclap percussion, is reminiscent of Roland Kirk in its humor, warmth, and screaming blues lines. On disc two, "Kansas City Line" is the most purely Hemphill piece in his entire oeuvre. On this piece, the solo alto -- playing itself through the blues and ancient swing lines -- reveals the true guiding light behind the World Saxophone Quartet. Here is the true funk and soul in the bottom of the jazz art. In "C.M.E.," Hemphill reveals the fine twining of soul, blues, and gospel and floats them along a time line from the end of the 19th to the end of the 20th century. Kirk again makes a spiritual appearance in the album's closer, "Homeboy Tootin' at the Dogstar." Here, overdubbed flutes and Hemphill's singing through them go for the deep groove right from the jump. They bend corners, lift themselves out of the gospel tradition, and head straight for the unknown -- while keeping the vernacular backbone a part of the story that everyone can hear. Blue Boye is a singular album, born of equal parts inspiration, determination, and artistry. It should be heard by virtually anyone interested in Hemphill to be sure, but not only. Blue Boye is an album that reveals as much about the history of American black music as Sly & the Family Stone's There's a Riot Goin' On, Anthony Braxton's For Alto, Aretha Franklin's Aretha, Duke Ellington's Drum Is a Woman, or Michael Jackson's Thriller." - Thom Jurek, AMG2 CD Set $20

The London-based Confront label Restocked:

IST [SIMON H FELL / MARK WASTELL / RHODRI DAVIES] / JOHN ZORN - New York (Confront CCS 40; UK) Featuring Rhodri Davies on harp, Simon H. Fell on double bass and Mark Wastell on cello plus John Zorn on alto sax. Recorded live at Tonic, April 17 & 19, 2001 by Bruce Gallanter. This was the last Company Week in New York, curated by Derek Bailey with assistance from John Zorn. I remember it well since it brought together a great combination of improvisers: Ikue Mori, Joey Baron, Cyro Baptista, Jennifer Choi, Annie Gosfield, Mr. Bailey, Mr. Zorn and the three members of IST: Simon H. Fell, Rhodri Davies and Mark Wastell. This was the first and only appearance of IST (in NY), an amazing British trio who have continued to evolve, working their way through their own take on lower case (ultra subtle) improvisation. Besides the extended techniques of their original instruments (Wastell on cello) and (Davies on acoustic harp), these two players have moved through other instruments (tam tams) and non-instruments (amplified textures, electronics & samples). IST in "New York" is dedicated to the late Derek Bailey and contains six parts, about 50 minutes of music. Although this set was recorded by yours truly in the front row on a DAT recorder with stereo mic, the sound is still superb, warm and clean. The nuance of rubbed and bowed strings is well captured. Spacious, eerie and filled with suspense, consistently fascinating. This is not what one would call "lower case" but much more diverse and at times abrupt and intense. The 45-minute set is consistently spirited and strong. When Mr. Zorn comes in for the last piece, things get even better, more intense with some of that great Downtown twisted magic. The bent strings and distinctive reed manipulations & multiphonics are similar in texture and timbre. It is a perfect match. An entire set of IST with Mr. Zorn would've no doubt been one of the most memorable sets of the year but this is not what Company style improv is about. Nonetheless, this disc is still amazing! - Bruce Lee Gallanter, DMGCD $14

SIMON H FELL - Le Bruit de la Musique (Confront CCS 70; UK)“It's always gratifying and exciting to be invited to perform at a Festival,especially if it is a local one organized by friends. Jo & I moved to rural France 12 years ago, and one immediate effect of leaving London behind was that I went from playing improvised gigs at least once or twice a week to a much less intensive rate of performance. In fact there are relatively few chances to perform improvised music in La France profonde, but Le Bruit de la Musique is one of two performing opportunities in our département. Run by a friendly team spearheaded by neighbours and fellow-musicians Lê Quan Ninh and Martine Altenburger, the Festival brings improvised and contemporary composed music to a range of venues in the north of La Creuse, and I was particularly pleased to be asked to play in the marvelous church of Toulx-Sainte-Croix, with its wonderful acoustics and rich purply-blue starred cupola. Playing so near home for friends and fellow enthusiasts (especially on a warm and sunny summer afternoon) felt inspiring, and I do hope that you can hear this in the recording” - Simon H. FellCD $14

10TET With RADU MALFATTI / TETUZI AKIYAMA / TAKU UNAMI / KLAUS FILIP / TAKU UNAMI / et al - 10Tet (Confront CCS 60; UK) ".... it was October 2013 ... Radu, Klaus and Nikos came to Japan. The last day of their tour, Ftarri was booked but it was uncertain what would be done there … so we decided to invite all our friends to join just a few days before." - Taku UnamiCD $14

TIN [AXEL DORNER / DOMINIC LASK / ROGER TURNER - Uncanny Valley (Confront CCS 73; UK) Featuring Axel Dorner on trumpet, Dominic Lash on double bass and Roger Turner on drums. This disc was three recorded at live gigs in the UK (including Cafe Oto), in April of 2015. What is interesting about this trio is that each member comes from different scene, embracing several strand of improv: free/jazz, lower case and hyper (intense & quick moving) improv as well. Trumpet wiz, Axel Dorner is a perfect example or erasing boundaries: playing Monk with Alex von Schlippenbach, as well as playing with Phil Minton, Ken Vandermark and Barry Guy. UK contrabassist, Dominic Lash, is a ember of half-Brit/half NY quartet called the Convergence Quartet and has played with Tony Bevan, Pat Thomas, Denman Maroney and with the Wandelweiser Collective. Drummer Roger Turner is the the elder musician here, having worked with Lol Coxhill, Konk Pack and Phil Minton. Diverse resumes all around. Things start off with lower case-like restraint: a hissing radiator, sped up static and skeletal percussion or rubbed surface sounds. The Confront label, which is run by cellist Mark Wastell from Ist, seems like the perfect home for this trio. When the trio stripps things down to small sonic fractures, we feel the need to listen more closely. The rich blend of sounds are especially compelling yet doesn’t quite sound like what we think of as music (no recognizable melodies). There are a series of drones which expand and contract and are stretched in odd ways. Each rubbed or bowed surface or string evokes a different vibration or family of related sounds. I can’t quite convey the depths of sonic exploration here, but remained transfixed throughout. Less is more, less is more is the lesson here. - Bruce Lee Gallanter, DMGCD $14

BERTRAND DENZLER / ANTONIN GERBAL / AXEL DORNER - Le Ring (Confront CCS 65; UK) Featuring: Bertrand Denzler: tenor sax, Antonin Gerbal: percussion and Axel Dörner: trumpet. This group is the result of crossed relationships. Denzler and Dörner know each other for 15 years, Denzler and Gerbal work together in several projects, Dörner and Gerbal are both members of Peeping Tom. As a trio, they played their first concert in Berlin in March 2015 and the music was immediately obvious. The sound of the group is a malleable space in which the musicians generate small or bigger shapes, simple and complex sounds, irregular and mechanical rhythms.CD $14

BRIAN CHASE & ANDREA PARKINS - Avalanche of Routes (Confront CCS 67; UK)Featuring Andrea Parkins on accordion, electronics, amplified objects and processing and Brian Chase on drums & electronics. The first few times I heard drummer Brian Case play, both live and on record, I had no clue he was a member of a famous rock group called the Yeah Yeah Yeahs (Grammy winners & filled large rooms like the Barclays Center!?!). Mr. Chase has had a parallel career playing with a number of diverse players: Jeremiah Cymerman, Thollem McDonas and Alan Licht. Accordionist and electronics player, Andrea Parkins, is a longtime part of the Downtown network, having been a part of a great trio with Ellery Eskelin & Jim Black, as well as working with Nels Cline, Briggan Krauss and Ches Smith (in These Arches). Last I heard, Ms. Parkins was living and teaching in Berlin, but recent word is she is teaching elsewhere as well. Hence, their diverse backgrounds make for an unpredictable outcome. After nearly a dozen diverse & unique releases from the Eskelin/Parkins/Black trio, Ms. Parkins has evolved as a gifted, risk-taking improviser/sonic explorer. The duo here deal with textures cautiously, wheezing accordion into strange electronics and early Knitting factory-like quirkiness meets John Stevens small kit percussion. While some electronics sound academic or alienating, Ms. Parkins knows how to balance the acoustic & electronic elements just right, never going into the extreme end too far. The music sounds or feels like a comfortable journey into space. At times, this veers close to space rock (like early Pink Floyd or Gong), but doesn’t get to that druggy excess haze that might bother the more clear-minded listeners. There is a section on the title track, “Avalanche of Routes”, where it sounds like we are traveling in a submarine with the radar blipping. One of the things I like most about this is that Ms. Parkins is using analogue-sounding synths, which sound friendlier than usual. Still, there are moments of cosmic drones which are rather enchanting. I did see/hear this duo live at The Stone a while ago and I would suggest that you don’t miss them live if you get the opportunity. In the meantime, treat yourself to this strange and wonderful treasure. - Bruce Lee Gallanter, DMGCD $14

BURHARD BEINS / JOHN BUTCHER / MARK WASTELL - Membrane (Confront CCS 36; UK) “This marvelous release from Mark Wastell’s Confront label documents a meeting of these three heavy hitters convened at Dalston’s Cafe Oto, last March. This was the first time all three had played together, although, as John Eyles remarks in his liner notes, they had all worked with each other, before, in outfits such as Powelchsel (Butcher and Beins), The Sealed Knot (Beins and Wastell) and Chris Burn’s Ensemble (Wastell and Butcher). This familiarity, combined with rigor and expertise of their respective improvisational methodologies, means this is a very accomplished set. These guys know what they’re doing and so there’s no faffing about. They’re locked in from the first seconds of Membrane 1, setting up a long, ringing sequence of notes, driven by Wastell’s metallic tam-tam murmurs. At first things are slow and sub aqueous, Wastell setting up a liquid sonic field that makes everything like it is taking place at the bottom of a cold, clear ocean. Butcher comes in sensitively at first, his breathy hisses moving through the shimmer like an eel. At around 11 minutes, he casts forth some simple, abstract phrases, before slipping back into the depths. Beins is even more circumspect and, occasionally, it’s tricky to figure out whether the electronic tones and chain-like rattles that occasionally ripple across the surface of this piece are him or one of the other two. There’s definitely something going on, however, something creating that sense of textured depth that seems, on the whole, organic but sometimes humming like a vast, dormant machine.”CD $14

BOBBY ZANKEL & THE WONDERFUL SOUND 6 [With DAVE BURRELL / STEVE SWELL / WILLIAM PARKER / MUHAMMAD ALI / DIANE MONROE] - Celebrating William Parker @ 65 (Not Two MW 962; Poland) Featuring Bobby Zankel on alto sax, Steve Swell on trombone, Diane Monroe on violin, Dave Burrell on piano, William Parker on bass and Muhammad Ali on drums. Philadelphia has had a long history of great jazz sax players who were born or moved there: John Coltrane, Jimmy Heath, the Grubbs brothers (nephews of Trane), Odean Pope. Byard Lancaster and Sabir Mateen. I went to college in south Jersey (Glassboro State, 1972-1976) and got to know a few other Philly-area sax greats like George Bishop (R.I.P.), Elliott Levin (still in Philly) and Steve Buchanan (Switzerland). Add to this list of Philly sax greats, Bobby Zankel, who moved there in 1975 and who has recorded a half dozen great discs for the CIMP, Cadence Jazz and Dreambox labels. It turns out that Bobby Zankel also worked with Cecil Taylor, as well as with William Parker and Hamid Drake. Mr. Zankel put together a marvelous sextet of Downtowners like William Parker and Steve Swell, along side of four of Philly’s finest. The only musicians that I wasn’t previously familiar is violinist Diane Monroe who fits right in. This set was recorded at the legendary Painted Bride Art Center in January of this year (2017). Mr. Zankel starts off alone with what sounds like a familiar. melodic theme, poignant yet transcendent, before the rest of the sextet soon joins him, building in exuberance. Mr. Zankel has a tart, expressive, fiery tone on alto sax and sounds great at the center of the storm erupting tightly around him. Longtime Philly legends like Dave Burrell and Muhammad Ali (brother of Rashied Ali), have been playing free/jazz for more than fifty years and they do sound like they are masters of that type of music. Violinist Diane Monroe, who was/is a member of the String Trio of New York, takes one of the first solos and sounds consistently creative. This disc is dedicated to the amazing William Parker who is often at the center of this sextet, pumping up a storm. There is an excellent duo of Mr. Parker and Dave Burrell in an early section where they toss ideas back and forth at a furious rate of exchange. There are a number of extraordinary solos erupting throughout this disc from Mr. Zankel, Steve Swell, Dave Burrell and Ms. Monroe, as well as a great drum solo from Mr. Ali midway. In each of the four parts, Mr. Zankel plays a memorable theme which always rings true and stays with us after the disc is over. OUTstanding on several levels simultaneously. - Bruce Lee Gallanter, DMG CD $17

EVAN PARKER / MIKOLAJ TRZASKA / JOHN EDWARDS / MARK SANDERS - City Fall (Listen! Foundation 04; UK)Featuring Evan Parker on tenor sax, Mikolaj Trzaska on alto sax & bass clarinet, John Edwards on double bass and Mark Sanders on drums. These two sets were recorded at Cafe Oto in London in September of 2014. I was glad to see this line-up listed on the Fundasja Foundation website, since this looks to be a great collaboration. The British rhythm team of John Edwards and Mark Sanders can be found on some two dozen discs working with great saxists like Paul Dunmall, Tony Bevan, Frode Gjerstad and Trevor Watts. Both have also worked with Evan parker together and separately. Polish reeds great, Mikolaj Trzaska, can be found on some three dozen discs as a leader, soloist and working with Ken Vandermark, Joe McPhee and Johannes Bauer. The first set is the one where the quartet blasts off together, soaring and exploding together. Both reeds players sound great together, a flurry of notes swirling tightly together with a storm force, soon pushing each other higher and The second set starts with some powerful, intense bowed bass before the rest of the quartet comes in. The rhythm team is powerful, buzzing with energy, allowing both saxists to erupt with power and finesse. Mr. Trzaska, who often plays with more restraint in a chamber setting, erupts with Evan Parker in tenor and Mikolaj Trzaska on alto sax. The is a long section midway where both saxes and bowed bass create a series if wheezing drones. The combination is most effective, the blend most mesmerizing. There is an incredible, tight, blasting Evan Parker/bass & drums trio section which is just ferocious, ascending higher and higher. When Mr. Trzaska re-enters, it is hard to tell the saxists apart since they hover around the same tonal, textural area. This impressive 2 CD set shows how well the collaboration of Mikolaj Trzaska and the Evan Parker Trio can rise to the occasion. An OUT-standing effort! - Bruce Lee Gallanter, DMG 2 CD Set $24

BARRY GUY / MAYA HOMBURGER / ZLATKO KAUCIC - Without Borders (LISTEN! Foundation FSR 05-2017; Poland) Featuring Barry Guy on contrabass, Maya Homburger on baroque violin and Zayko Kaucic on drums, electric zither and home-made instrument. Master contrabassist, Barry Guy, and his wife classical (baroque) violinist, Maya Homburger, have been collaborating for many years performing in duo, trios and with several projects led by Mr. Guy. Sometimes they play written material like Bach or John Dowland, while other times they improvise, like a trio CD with Swiss drummer Pierre Favre on Maya Records. Slovenian drummer, Zlatko Kaucic, has worked with Evan Parker, Peter Brotzmann and Agusti Fernandez in the past, hence a strong choice for Mr. Guy and Ms. Homburger. The music here is not completely improvised as Mr. Guy and Mr. Kaucic have both contributed composed material here as well as covering one piece by Steve Lacy. The title of this disc, “Without Borders…”, refers to the turmoil going on around our troubled world due to the fleeing of humans from different war-torn countries. The way this disc is recorded is just perfect. The sound of Mr. Kaucic’s zither and percussion is something to behold: creating his own world beneath the sea with rubbed cymbals and surfaces, ultra-cautious textural and timbral sounds. “Footfalls I-IV” for duo improvisations by Guy and Kaucic was named after a play by Samuel Beckett. The sound of Mr. Kaucic’s electric zither or unnamed homemade instrument is most mesmerizing, his drums also consistently engaging. There is some extraordinary, intense back and forth dialogue going on between Mr. Guy’s bass and Mr. Kaucic’s percussion in the long section. Guy is a master of altered and extending the sound of his contrabass by banging on the strings with a bow and other objects as well as putting things in between the strings. There is a lovely, haunting work called, “Peace Piece” which features some exquisite bass playing by Mr. Guy. What I dig most about this disc is how well Guy and Kaucic play together, both play percussively as well as with ever-dynamic explorations. At times, it is difficult to tell them apart. The blend of ideas, sounds and textures is too marvelous for mere words so just dig in..! - Bruce Lee Gallanter, DMGCD $17

HORACE ANDY - Natty Dread A Weh She Went (Kingston Sounds 070; UK) Kingston Sounds present a reissue of Horace Andy's Natty Dread A Weh She Want, originally released in 1979. The Natty Dread A Weh She Want set brings together two legends of reggae music. The stylish and unmistakable falsetto voice of singer Horace Andy, and the production/DJ singing skills of Tapper Zukie. Both artists' catalogues of music stand up strong, but something special out comes from both of them on this set of tunes. "Natty Dread A Weh She Want" was a massive hit when it was released by Tapper Zukie and Horace Andy, but this timeless track still sounds as fresh today as the day it was released in 1979, as do the other tracks on this fine album. CD version includes five bonus tracks.CD $15

LP Section:

MICHAEL HURLEY - Blue Hills (Mississippi Ewcords 070; USA) "Reissue of the classic from 2010! One of our favorite Hurley LPs ever. Side A features Michael on the pump and electric organ and side two features Michael on guitar. Nice and sparse. Some of his most moving and heartbreaking work here. Absolute stunners. This edition comes with nice liner notes written by Michael himself and some beautiful drawing Michael made way back in 1962! Suitable for framing. Michael Hurley is one of the world's greatest singer songwriters and here in lays the proof."LP $15

THOMAS DIMUZIO & ALAN COURTIS - Monk Style Or Scream (Monotype 026; Poland) Brought together in 2005 for a performance at San Francisco's venerable The Luggage Store Gallery, Anla Courtis and Thomas Dimuzio are introduced through the raw power of amplified music. Brothers in arms the duo remained in contact and in time began a recording project from afar. With a nod to classic cassette culture the distant combo exchanged source recordings with each artist concretely preparing a long-form work. The two tracks contained herein are a result of this collaboration. Green transparent vinyl; Edition of 300.LP $21

DEAN McPHEE - Four Stones (Hood Faire 007; UK) “Four Stones is solo electric guitarist Dean McPhee's third full-length album, a collection of free-flowing instrumentals which combines fluid fingerpicked melodies with atmospheric drones and trance-inducing loops. Four Stones brings together remastered versions of three tracks that were only previously available on a limited edition tape compilations on the Folklore Tapes label (2016) along with two new pieces, "Danse Macabre" and the epic 14-minute "Four Stones" which find Dean using a new kick drum pedal to add a percussive undercurrent to his music. The Folklore Tapes tracks "The Blood Of St. John" -- from Calendar Customs Vol IV: Crown of Light (2016) --, "Rule Of Threes" -- from Lancashire Folklore Tapes Vol 1: Pendle, 1612 (2012) --, and "The Devil's Knell" -- from Folklore Tapes Calendar Customs Vol III: Midwinter Rites and Revelries (2015). Four Stones was mastered by Denis Blackham at Skye Mastering. The album cover features a photo by Robin Zahler of The Great Stone of Four Stones in North Yorkshire. The album was recorded live with no overdubs. 180 gram vinyl. Edition of 500.”LP $22

JEAN ROLLIN - The B-Music of Jean Rollin: Various Artists 1968-1973 (Finders Keepers 095; UK) Rising out of the smoky Parisian Mai 68 shrapnel and claiming his stake as the first French vampire movie director, the inimitable father of European horrortica, Jean Rollin (1938-2010) has smudged the painted face of surrealist cinema for over five decades. Dragging his roots from beneath the Letterist/Situationist movements, avant-garde theater, and Belgian fine art groups and entwining them around the minds of sexual revolutionaries, the European comic book cognoscenti and the Parisian free jazz and rock scenes, Rollin stopped at nothing to bring his macabre fantasies of zygotic vampyrism and backwoods blood cults to Gallic cinémathèques and beyond. Celebrating the immortal legacy of the late director, Finders Keepers compile a detailed and comprehensive music cabinet of some of the finest musical moments from his initial directorial decade between 1968-1979, which provided a much needed platform for the freak rock and free jazz that mirrored the distorted erotic visions in his own mind's eye. Imagine Gong-gone-wrong meeting the art ensembles of Châteauroux... Fantasy pop groups mutate and thrive within... Features tracks from Yvon Gerault, Acanthus, Pierre Raph, and François Tusques.LP $25

JAVIER SEGURA - El Sol Desde Oriente: Selected & Unreleased Works, 1980-1990 (Passat Continu PC 001; UK) Passat Continu offers the first-ever compilation by the Spanish musician Javier Segura (born 1955), who worked as an isolated cell from his home studio in the Canary Islands. Although Javier Segura has been recording music in his studio almost continuously since the '70s, his relevance and recognition as a musician has been limited to experimental music circles. The fact that he worked outside of the country's spotlight of power kept his name relatively unknown for years. Only the appreciation of a few collectors and disc jockeys kept the light on. Working for decades from the underground, Segura build up some brilliant ideas producing dozens of richly textured songs, stretching borders on every corner of the experimental music term. Using guitars, rhythm boxes, trumpets, synths, or simply pedals, Segura managed his own career and produced a handful of albums by himself: El Ser Y El Tiempo (1976), No Mires Atrás (1983), Nostalgia De Lo Humano (1986), Lamento Bereber (1989), El Ángel Caído Vol I, La Lluvia Azul (2004), Levántate (2005), and El Orden Y El Caos (2006). He also teamed up with Juan Belda on the noisy and only improv project Arte Moderno (1981-1982), using the Roland TR-808 rhythm box as a main actor for the first time in the post-Franco's Spain era. El Sol Desde Oriente uses three of those songs and adds six more previously unreleased productions recorded from 1980 to 1990, probably his most active and brilliant period of time. Vinyl comes with insert with previously unseen photos and liner notes by Javier Segura and Passat Continu's curator David G. Balasch.LP $30

ATMO / MONTEDORO / TOMMASI / JARRELL / SANTUCCI / et al - Mare Romantico (Sonar Music Editions 042; Italy) Sonor Music Editions present a reissue of Mare Romantico, originally released in 1974. Amazing Italian library electronic and underwater gem originally released in 1974, which has remained totally obscure and absolutely impossible to find. A bewitching underwater music trip made through analog synthesizers and sophisticated electronic lounge mood music recorded for TV sea documentaries. Delicate marine themes alternate with hypnotic and abyssal vibes with droning effects, elegance reflected in crystal clear waves. A little jewel for fans of early electronic music and library junkies; one of the finest examples of Italian underwater library music. Features Montedoro, Tommasi, Atmo, Jarrell, Piccioni, and Santucci. Renewed artwork by painter Stefania Casagrande. Back sleeve liner notes by music journalist Marco Ferretti. 180 gram vinyl; Edition of 500.LP $30

BRUNO ZAMBRINI - Racconti Di Mare (Sonor Music Editions 043; Italy) Sonor Music Editions present a reissue of Bruno Zambrini's Racconti Di Mare, originally released in 1970. Maestro Bruno Zambrini's soundtrack masterpiece originally recorded for the TV series Racconti Di Mare in 1970, directed by Nestore Ungaro. Mental vintage underwater score -- one of the best from library/soundtrack music production. The music is a total trip with insane psychedelic and underground beats to die for, killer drum breaks, aquatic lounge and bossa themes, and huge underwater drama moods. The lounge atmospheres are reminiscent of nostalgic sea trips with the flowing sweet scat vocals broken by the spaced-out underwater marine vibes. Unmissable Italian OST! Hard cardboard quality sleeve replica. 180 gram vinyl. Includes CD with the complete stereo recording session, plus the full unreleased Mono RCA version. Edition of 500.LP CD $35

EDMONDO GIULIANI - Il Mare: Musica Con Strumenti Elettronici (Sonor Music Editions SME 044; Italy) Sonor Music Editions present a reissue of Edmondo Giuliani's Il Mare: Musica Con Strumenti Elettronici, originally released in 1972 on the micro-label Dischi Egede. A mega-rare italian electronic underwater music library production recorded for an obscure documentary on sea from the early '70s. Infectious and trippy abstract experimental music that plumbs in the sea depths with abyssal echoes, sound iridescences, and marine electronic themes. Addictive record out for Sonor Music Editions' underwater library triptych, released alongside Mare Romantico (SME 042LP) and Bruno Zambrini's Racconti Di Mare (SME 043LP). Another great vinyl obscurity is filed and published on our label with amazing renewed artwork. 180 gram vinyl; Edition of 500LP $30

Here is the Rest of the Little i Music label, listed and stocked for the first time at DMG:

BROOKLYN BLOWHARDS [JEFF LEDERER/KIRK KNUFFKE/BRIAN DRYE/MATT WILSON et. al] - Brooklyn Blowhards (Little i Music USA) Featuring Jeff Lederer on tenor & soprano saxes, Petr Cancura on tenor sax, Kirk Knuffke on cornet & slide trumpet, Brian Drye on trombone, Art Bailey on accordion and Matt Wilson & Allison Miller on assorted percussion Gary Lucas on guitar & Mary LaRose on vocals. “Imagine seeing a despondent Albert Ayler walking around Brooklyn on a cold November day in 1970, with his tenor saxophone under his arm. Some say he threw himself into the East River, a suicide by drowning. His loss, our loss, was one a true original voices in jazz. Now picture Ayler with a copy of Moby-Dick; or, The Whale tucked under his arm. Reading the 800-plus pages of Herman Melville's opus has been attempted by many, but completed by a few (probably more than Joyce's Ulysses, but less than Pirsig's Zen & the Art of Motorcycle Maintenance). Ayler would have endured, reading and incorporating the whaling novel into his ethos. Well, at least that is what the sea shanty cover band Brooklyn Blowhards are telling us. Saxophonist Jeff Lederer is perhaps the foremost expert and interpreter of Ayler's music performing today. He incorporates a little Ayler into every project he works on, from his Shakers N' Bakers, a reimagining of Shaker religious hymns, his stellar quartet recording Sunwatcher (Jazzheads, 2011), and his work with his wife Mary LaRose. He can also be heard as a member of the trad/jazz combo Swing n' Dix, and in drummer Matt Wilson's quartet. But what of Ayler and sea shanties? Actually, the combination is quite congruent. Ayler's marching themes and love of anthems were all the constructs of work songs, just as these shanties. The disc opens with the classic Ayler composition "Bells." A parade of drums escorts the Blowhards into the hyperspace squeals and shrieks of the brass chase. But there is also Art Bailey's accordion on board, adding to the maritime theme. Ayler covers only comprise five of the fourteen tracks, but as with Albert's music, traditional songs—folk music—was a big part of his repertory. "Shenandoah" spreads out under the mellifluous voice of LaRose, Lederer's Mary Maria Parks and Gary Lucas' guitar. She speaks/sings "Island Harvest" Ayler's island carnival song with dancing horns of Brian Drye's trombone, Kirk Knuffke's slide trumpet, Lederer and Allison Miller and Stephen Larosa. The joy is how a cover of "Omega" yields itself to a shanty, and "Shanty Anno" or "Black Ball Line" could easily be mistaken for Ayler originals. Cheers to the Brooklyn Blowhards, and Lederer, who needs more "Arrr's" in his name.” - Mark Corroto, AAJCD $13 / LP $16

MARY LaROSE With JOHNNY GANDELSMAN/COLIN JACOBSEN/NICOLAS CORDS/ERIC JACOBSEN /CHRIS LIGHTCAP - Reincarnation (Little i Music 104; USA) “The best stories are, indeed, the one's you already know. Told over- and-over again, each time a little different. That's comfort food for the ears. Enter vocalist Mary LaRose, recounting the music of Charles Mingus, Eric Dolphy, and Ornette Coleman with lyrics she penned and performed as a sympathetic partner to these jazz giants. The singer has visited some of this music before, recording Coleman's "Broken Shadows" and some Mingus on her disc Cutting The Chord (Leadhead Productions, 1995). The difference from that fine record (it is out-of-print, but worth seeking out) is that this version is presented primarily with accompaniment of the Brooklyn Rider string quartet rather than a jazz quintet. Opening with "Reincarnation Of A Lovebird," she redecorates Mingus with a deja vu, not unlike Hal Wilner did on his Weird Nightmare: Meditations on Mingus (Columbia, 1992) via string quartet and a guest clarinet solo by Jeff Lederer. The music is Mingus, but updated to Guiliani and Bloomberg's version with "Nostalgia In Time Square" lamenting to substitution of Disney and Starbucks for peep shows and malt liquor. Thelonious Monk and Mingus are intertwined with Dolphy, as the singer covers Mingus' "So Long Eric," Dolphy's "Straight up And Down," and Dolphy's tribute to Monk, ""Hat And Beard." the latter a hopping Raymond Scott-sounding romp over the high priest of bebop's notes with a guest solo from the innovative purring trumpet of Kirk Knuffke. Knuffke can also be heard on a clever cover of Johnny Cash's "Ring Of Fire." The tune, drawn out and cooked more slowly as to suggest you consider the lyric in a whole new light. Same for "Witches And Devils" sung with wordless lyrics before Lederer's singing clarinet and drummer Matt Wilson's brushes dust off the eeriness of jazz's Holy Ghost, Albert Ayler's hallowed composition. LaRose doesn't just accompany the band, her voice is another instrument of the music.” - Mark Corotto, AllAboutJazzCD $13

MARY LaROSE With JEFF LEDERER / MARC RIBOT / STEVE BERNSTEIN / CHRIS LIGHTCAP / MATT WILSON - The Blue Guitar (Little i Music 10; USA) Featuring Mary LaRose on vocals, Marc Ribot on guitar, Jeff Lederer on tenor sax & bass clarinet, Steve Bernstein & Steve Gluzband on trumpets, Chris Lightcap on bass, Matt Wilson on drums plus Jamie Saft - keyboards and Andrew D’Angelo on laptop ^ & pump organ. Released in 2005 and it is dedicated to Ms. LaRose’s late father, a railroad man, guitarist and storyteller and a big influence on Mary’s life. Ms. LaRose picked these songs, mostly covers, with care, each one with a story behind it. Ribot plays some exquisite acoustic guitar on “Little Girl of Mine”, the song captured with a most poignant vibe. I dig the way, the band plays Johnny Cash’s “Ring of Fire” with Mexican horns, simmering organ and great, ripping electric guitar from Mr. Ribot. What I find interesting is that Ms LaRose often will take a traditional song or jazz standard and stretch it beyond recognition. Many of these songs give Marc Ribot a chance to stretch out and take a handful of blistering solo and he consistently rises to the occasion. The ubiquitous horn man, Steve Bernstein also take a few wonderful slide trumpet solos here and there. Mary LaRose has a jazz vocalist’s sensibilties, yet she often pushes here voice in between folk, roots rock and jazz steams, becoming a different character on each piece. Only Ms. LaRose would cover songs as diverse as “Working Class Hero” (John Lennon), “Rufus” (Archie Shepp) and “These Boots are Make for Walking’” (Lee Hazelwood). The arrangements by Mr. Lederer and Ms. LaRose are often interesting with unexpected twists. ‘The Blue Guitar’ is a type of Americana which seems to reinvent itself on every song. It will take some time to absorb all of the buried treasures found within. - Bruce Lee Gallanter, DMG CD $13

JEFF LEDERER'S SWING N' DIX With KIRK KNUFFKE / BOB STEWART / MATT WILSON MARY LaROSE - Swing n' Dix (Little i Music 105; USA) ‘Swing n' Dix’ was originally the actual name of Jeff Lederer's combo as a teenager, led by himself on alto saxophone and Jeff Walker on clarinet. The new edition of the group features drummer Matt Wilson, cornetist Kirk Knuffke, and Bob Stewart on tuba. Lederer is a longstanding member of Matt Wilson's Quartet, which Knuffke joined as a replacement during saxophonist Andrew D'Angelo's recovery from brain cancer. Bob Stewart is a more recent acquaintance. "I first met Bob through a series of round robin improvised duets organized by [New York concert promoters] Search & Restore," Lederer explains. Search & Restore's mandate with many of their presentations are to create combinations of musicians that have never performed together before. "I got paired with Bob, and I was so excited to be in that tuba sound world. He was a hero of mine, mainly from his work with Arthur Blythe." Lederer cites Blythe's album, Lenox Avenue Breakdown, as a seminal disc in his artistic development. The repertoire on Swing n' Dix is vast. Lederer, Wilson, and Knuffke all have brought in tunes, complemented with songs from Pee Wee Russell, Duke Pearson, and a traditional Shaker hymn. "The bare bones of the music is quite simple," says Lederer, "so that the music becomes more about the people and their relationships than about the composition. I wanted to have a group that felt like four friends onstage." That friendship is manifest on the album through spurts of humor - the Spike Jones-esque swing and gang vocals of I'll Take A Dozen! and Wilson's faux vintage radio announcement on Nibble. Humor is a large part of Lederer's musical concept, and while not calculated, it's an element he strives to invite into the music.CD $13

SHAKERS N' BAKERS [JEFF LEDERER / MARY LaROSE / JAMIE SAFT / CHRIS LIGHTCAP / MILES GRIFFITH / ALLISON MILLER / et al] - Shakers N' Bakers (Little i Music 102; USA) The Shakers n’ Bakers are an improvising ensemble that reinterprets the music of the utopian religious community known as the Shakers. Their repertoire is primarily drawn from the body of work known as the “Vision” or “gift” songs which sprang from the Shaker community during the period of inspiration from 1837-1850. These vision songs were received in states of inspiration by young women of the shaker community, and their authorship is attributed to spirits which took possession of the recipients, thus the term “gift” songs. The texts of many of the songs are partially or entirely written in the languages of inspiration; some are identified loosely as African, Native American or “moon” languages. Other texts are in English contain a beautiful poetry echoing the unique worldview of the Shakers. The Shakers n’ Bakers use this body of music as a focal point for composition and improvisation. Original Shaker texts and songs are reinterpreted through the lens of Ayler and Lennon. The group is made up of many well known musicians on New York’s “downtown” jazz and new music scene including Mary LaRose and Miles Griffith (vocals), Jeff Lederer(reeds), Jamie Saft (electric harpsichord and other keyboard instruments), Chris Lightcap (bass) and Allison Miller (drums).CD $13

SHAKERS N' BAKERS [JEFF LEDERER / MARY LaROSE / JAMIE SAFT / CHRIS LIGHTCAP / ALLISON MILLER] - Yearning For Zion (Little i Music 103; USA) “Sometimes odd matches promise the most perfect couplings. Such is the case with the second release of the New York-based improvising ensemble, Shakers N' Bakers. They succeed beautifully with inspired interpretations of 19th century spiritual vision songs by the radical Utopian religion community known as the Shakers. The ensemble transfers the original texts through the musical lens of the revolutionary figures of free jazz, most notably Albert Ayler, while spicing an ecstatic stew with quotes from contemporary modern composers including John Adams, Gyorgy Ligeti and Arvo Part. This coupling makes more sense after thoughtful consideration. The Shaker vision songs, mostly attributed to the period of Mother Ann (1837-50), were received in states of inspiration, and their authorship is attributed to spirits which took possession of the recipients. Shakers N' Bakers features arranger/composer/saxophonist Jeff Lederer, vocalists Mary LaRose and Miles Griffith, keyboard wizard Jamie Saft, bass master Chris Lightcap and drummer Allison Miller. The group's collective improvisational style references diverse genres such as reggae, ecstatic gospel singing, free jazz sax flights and even modern minimalism, as exhibited on "Even Shakers Get The Blues." The piece references the title of alternative writer Tom Robbins' Even Cowgirls Get the Blues (1977), quotes John Adams' "Road Movies Part 2," and interprets original Shaker texts, all transformed into an explosive and passionate R&B anthem that calls "Our leader has to go." "The Roar of G_D," turns Gyorgy Ligeti's well-known "Hungarian Rock" upside down, with a new arrangement shifting through a nervous, punk drumming introduction, guest Mark Feldman's folksy violin and an intense duet between LaRose's clear and gentle voice and Griffith's rowdy guttural vocal, concluding with a dreamy violin solo. References to the outer space sonic excursions of the Sun Ra Arkestra are found in the wordless singing of "Chinese!!!," based on another Shaker vision song that may have been based on a "moon" language (as the Shakers often claimed), featuring Saft's urgent organ flights. "Lay Me Low" is an infectious gospel, spotlighting Lightcap's articulate bass playing and Saft's church-like organ solo. "Laughing John's Interrogatory" has a soaring sax solo by Lederer that leads a euphoric religious procession. The closing "Limber Zeal" is based on Estonian composer Arvo Part's "Spiegel im Spiegel," written just prior to his departure of Estonia in 1978. Feldman and Saft follow the original melancholic score, while the vocalists and readers offer spiritual words of advice from various Shaker texts like "keep the fire burning," which states the importance of keeping the freedom of the spirit, amidst Miller's fractured drumming pattern, offering an ironic commentary about this innocent conviction. A provocative and inspired work of art.” - Eyal Hareuveni, AllAboutJazzCD $13

THE STONE COMMISSIONSWEDNESDAY JANUARY 31: TYSHAWN SOREY - TWENTY FIVE DOLLARS7pm at National Sawdust in Williamsburg. For details check https://nationalsawdust.org/event/jazz-stone-commissioning-series/

THE STONE AT RUSS AND DAUGHTERS CAFE!THURSDAY JANUARY 25: BRIAN MARSELLAONE SET AT 8PM—ADMISSION FREE! - The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!

All Sets at the Old Stone start at 8:30pm Tickets: $20There are no refreshments or merchandise at The Stone. Only music. All ages are welcome.Cash Only at the door. There is no phone. There is no food or beverage served or allowed just a serious listening environment.The Stone is booked purely on a curatorial basis

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The CORNELIA STREET CAFE - 212-989-931929 Cornelia St in the heart of the West Greenwich Village, NYC

Jan 267pm: "Butterflies in the Wind of Change” Eliane Delage and Jackie Forzano "A versatile musician, composer, singer/songwriter; Eliane Delage sprouts her brazilian roots in a wide range of styles developing great music and harvesting a multitude of projects. Eliane's current project "Butterflies in the Winds of Change" to be released in the Spring of 2017 explores her singer/songwriter skills in a collection of self reflective themes organically wrapped in rock, blues and folk."

Shapeshifter is located at 18 Whitwell Place in Brooklyn, NYR train to Union stop

I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.